FOREVER IS NOW.04___ AN INTERVIEW WITH HASSAN RAGAB
Renowned artist Hassan Ragab has spent his career at the intersection of architecture, design, and computational art, using his multidisciplinary background to explore the boundaries of identity, heritage, and technology. His journey, from studying architecture in Alexandria to founding his own furniture studio and ultimately embracing generative AI, reflects a deep commitment to redefining artistic expression in an age of rapid technological change.
In this year’s Forever Is Now exhibition, now in its fourth edition, Hassan joins other visionary artists in reimagining the role of art as a form of modern archaeology. For the first time, this year’s exhibition will feature two AI parallel projects. This unique event invites artists to uncover meaning in the everyday, prompting audiences to consider new interpretations of our shared histories. Hassan’s contribution, Identity Oblivious, combines AI-generated visuals with digital media to examine the nuances of self-perception and cultural resonance.
Our editor Nancy Bugeja had the privilege of interviewing Hassan exploring the experiences, influences, and philosophies that inform his practice. The interview capturing Hassan’s insights into his work and the larger role of art in our rapidly evolving world.
Fluoro (F): Hassan, your career spans architecture, furniture design, and computational art. Can you share a bit about your journey and how these different disciplines have influenced your current work?
Hassan Ragab (HR): Well, I studied architecture in Alexandria, but I wasn’t really satisfied with the curriculum. I often found myself in trouble and almost dropped out. However, just in time, I discovered parametric design, which sparked my curiosity. At the same time, I had a strong interest in conservation and architectural heritage. This dual focus shaped the first seven years of my career, as I alternated between museography and computation.
Six years ago, I moved to the United States and spent four years working in computational design and construction. During that period, I developed a growing interest in art and technology, which eventually led me to explore AI about three years ago.
I believe that jumping between disciplines isn’t for everyone—it can be difficult, and there are times when you feel lost. However, I’ve come to realize that this sense of being off course was crucial to getting me where I am today. Having diverse experiences and branching out has become the cornerstone of my work. Now, my focus is on exploring new visual languages and bridging the gaps between art, design, history, society, and technology.
F: In 2016, you founded your furniture design studio, and since then, your practice has expanded to include art, technology, and heritage. What led you to move into such an interdisciplinary approach?
HR: I’m not entirely sure if my new studio is an extension of the old one. The old studio definitely shaped aspects of my work today, but I believe my current studio is more interdisciplinary, more avant-garde, more ambitious—or as I like to say, a bit “crazier”.
As a person, I enjoy learning about many things that might not seem immediately related. But deep down, I believe everything is connected in some way. These intangible connections are already there, just waiting to be discovered. That’s what has driven my curiosity and character for as long as I can remember!
F: As someone who has worked in cities across the world—Cairo, Rome, Sharjah, and Los Angeles—how have these different cultural environments influenced your design philosophy and creative process?
HR: Perhaps the greatest takeaway from working on an international level is learning to understand and appreciate local culture and context. Ironically, this has made me more critical of the universality of cultural and visual language—specifically, the impact of globalization on how we live and create. It’s pushing me toward working only with elements I can personally understand and relate to.
F: You emphasise the integration of technology, identity, and culture in your work. How do you balance these elements, and how does technology, particularly Generative AI, enhance your artistic expression?
HR: I’m not sure if I’ve achieved that balance yet, or if I ever will. What interests me more is understanding these elements and how they impact us in such a complex and beautiful way. In a sense, it makes me proud to be Egyptian, as it allows me to experience these fascinating forces firsthand.
I find generative AI to be a powerful, wonderful, and dangerous tool all at once. I’ve always believed in the deep relationship between an artist or creator and the tools they use. AI has opened new ways for me to express myself, but more importantly, it’s allowed me to explore the world—and myself—in ways I hadn’t before.
F: How do you see AI reshaping the future of art and architecture? What excites you most about its possibilities?
HR: It’s hard to predict what’s going to happen next. As human beings, we tend to swing to extremes when it comes to forecasting the future. But whatever happens, I strongly believe we are witnessing one of the greatest shifts in how we understand and practice the creative fields.
I’m not sure if I’m excited about the future—perhaps I’m more eager to experience it, whether for better or worse.
I try to be a cautious realist, focusing on understanding the potentials, the downsides, and the loopholes within our disciplines and societies today. These will be the driving forces behind how this technology will be implemented and used. It’s such a critical moment. There’s a lot of hype around AI, but most people don’t realize just how pivotal the present moment is.
F: With your deep interest in human heritage, how do you incorporate history and culture into your work, especially when using modern technologies like AI?
HR: I consider generative AI to be, in a way, a form of visual documentation of human knowledge. It’s random and flawed, yet it reflects a lot about what it means to be human. That’s one of the reasons I don’t see AI as merely a future technology—I like to use it to understand both the past and the present.
F: In Forever Is Now.04, the exhibition positions artists as modern-day archaeologists, uncovering meaning in the ordinary. How does this concept resonate with your approach to art and design? Can you share more about your contribution to this exhibition?
HR: I appreciate this perspective, and I agree with it. Artists don’t create in a vacuum; they reflect on the world and find meaningful connections from what’s already out there. That’s the essence of inspiration.
I’m participating with a short video piece titled Identity Oblivious, which runs for about 2 minutes and 11 seconds. As you might guess, a large portion of it was generated using AI tools, blended with other forms of digital media. The piece reflects my thoughts—or rather, my questions—about what identity is and how we, or perhaps just I, understand it.
F: As technology continues to evolve, what trends or innovations do you believe will shape the future of art and design over the next decade?
HR: Definitely generative AI, spatial computing, and Web 3. You can already see how these technologies are being democratized and widely adopted. But honestly, I’m not entirely sure. There’s something new emerging every day, so it might be something completely different!
F: You’ve been working at the intersection of technology and traditional art for some time now. How has your personal definition of creativity evolved over the years, especially with the rise of AI and generative tools?
HR: I don’t believe in creativity as it’s commonly understood. I think it’s a misused word, implying that people create solely from within themselves, which I don’t believe is true. For me, creativity is a way to connect with the world and become part of it—to lose a sense of oneself. It’s about overcoming your own ego and personal needs. I believe the world could be a kinder place if we all approached what we do with more empathy.
F: Reflecting on your journey, are there elements from your upbringing or early experiences that continue to influence your perspective and approach to art today?
HR: I was fortunate enough to be raised in a middle-class family in Alexandria, Egypt, at a time when the global economy, technology and social media hadn’t yet widened the social gaps we see today. This allowed me to connect with both the rich and the poor, opening my eyes early on to the value of many things.
People often say I’m a bit of a rebel. I’m not sure about that, but I do feel a constant sense of dissatisfaction and a critical view of the status quo, which I think is essential for balancing different aspects of life. No matter what you believe or what you seek from life, I believe it’s crucial to be kind to everyone and everything around you—otherwise, we’re doomed.
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Forever Is Now.04 is now presenting until 16 November 2024 at the Pyramids of Giza and brings together a distinguished group of 12 international artists, each contributing their unique voice to a collective dialogue that transcends time and cultural boundaries.
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Interview by Nancy Bugeja.
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